Media Innovation Studio

Interactive Review Vol. 1

Media Innovation Studio: Interactive Review
Edited by Prof Paul Egglestone, Dr Mark Lochrie and John Mills
CONTENTS
1. INTRODUCTION
4. PARTICIPATING ORGANISATIONS
6. ACADEMIC PARTNERS
7. WHERE IN THE WORLD
10. METHODS AND PROCESS
22. PREVIOUS WORK
34. DRONES
48. WEARABLES
52. DATA
58. INTERNET OF THINGS
64. INNOVATION
74. EVENTS
84. IN THE SPACE
90. THE TEAM
97. WORKING WITH US
98. CLOSING WORDS
99. SELECTED PUBLICATIONS

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INTRODUCTION
The Media Innovation Studios founding aim in 2012 was to work across disciplines to explore the
potential of creative and digital technologies to bring about positive change.

Our action research approach is lodged in a desire to create inclusively-designed prototypes as

responses to real-world issues. Originally positioned within the University of Central Lancashires
(UCLan) School of Journalism and Media, and now part of the College of Culture and the Creative
Industries, the Studios remit is to inhabit liminal spaces between disciplines. It hopes to explore,
research and innovate within the digital ecosystem evolving around us.

The human race is more socially, economically, politically and technologically interdependent than at
any time in its history. Yet, inequality, instability and unsustainability remain. Collectively, the Media
Innovation Studio is trying to understand whether technology has a contribution to make to resolving
this broader set of fundamental social issues. Perhaps more interestingly, were asking whether there
are an emerging series of ideas bound up in the creation and use of Information Computing Technology
as it is repurposed by global communities to support activities that make our lives better.

We do not believe that technology enables everyone by magically bridging the digital divide. Nor do
we believe that its use by supporters of digital democracy is any more democratic because of the use
of ICT. Instead, we have discovered through a combination of talking to people, building relationships
and making things together, possibilities for change are created.

Thankfully, theres plenty of evidence to demonstrate were capable of this.

This review shows some of our projects, approaches and methodologies which combine disruptive
design techniques, traditional social science and established practice-based methods from the arts.
Focussing on the last 12 months of activity, the book also incorporates earlier projects that helped
shape the thinking that brought us together to create the Media Innovation Studio. An emphasis on
knowledge exchange and impact beyond the academy is a strong feature of our research. Previous
projects like Meld (2007) encouraged journalists to work with interactive designers, programmers and
games designers to develop new forms of non-linear digital narrative storytelling or adapt existing
software applications and technologies to create new methods of distributing content. Meld was an
exciting and useful adventure into an interesting space between geek and hack whilst industry
engagement was critical throughout.

p.1
Similarly, the Media Lab Playground brought together a diverse range of players from Belgium, France
and the UK in 2014 for a weekend playground at the Media Innovation Studio. A multidisciplinary
approach was at its core, and attendees included university students, mentors, media experts with
technology, media, business, and coding backgrounds and entrepreneurs.

Our award-winning Interactive Newsprint project, operating between 2011 and 2013, celebrated
two research firsts. It connected paper to the Internet and developed a digital system for recording
interactions with printed matter. The project puts community at its centre drawing on the creativity
of individuals in the process of technology design and content creation. The project grew to include
several international media companies from Brazil and Europe, as well as national media organisations
in the UK.

The current direction of research and innovation within the Studio is firmly rooted in its previous work.

Our inclusive research culture ensures that there is no artificial divide between research and teaching.
Research staff are involved in teaching at all levels from foundation to undergraduate to Masters and
research degree supervision, with research developments in areas as diverse as entrepreneurial media,
sensor journalism to Unmanned Aerial Vehicles (UAVs) for search and rescue.

The examples that follow demonstrate a commitment to ensuring that people are central in all of our
work. We understand that technology is rarely the answer and we are keen to avoid the promotion of
technology as a solution looking for a problem. However, technology - and more accurately, human
interactions with our technologies - form the basis of many of our studies as we seek to gain insights
into how they influence or change behaviours, open or close possibilities.

The book you are holding is no exception. Embedded within some of its pages are opportunities
for readers to access additional rich media content, whether its video footage, audio clips, photos
or even PDFs. To activate this content you will need an iPhone or Android. For more details visit
mediainnovationstudio.org/misreview_app on how to download. Once you have the app installed you
will be all set to browse additional media content. Simply look out for the Media Innovation Studio icon
on the page, which indicates this page is interactive.

p.2
 Interactive

This review serves as the print book companion to the Media Innovation Studio. It identifies the
emerging field of media innovation by bringing together projects from Studio practitioners, each from
diverse disciplines, to shape theory, identify real world problems and current opportunities. The
book includes 40 selected case studies spanning communication, education, STEAM subjects (science,
technology, engineering, art and maths), journalism, media, business and policy. It attempts to develop
a shared language and a common purpose to enable people to collaborate beyond disciplinary silos.

Enjoy the book.

Professor Paul Egglestone

p.3
PARTICIPATING ORGANISATIONS

p.4
p.5
ACADEMIC PARTNERS

p.6
WHERE?

Its a cliche, but research and innovation is a journey not a destination. At the heart of our journey -
alongside a commitment to the wider academic community - is a deep desire to collaborate with others,
learn together and share in what it means to be human.

We travel so we can celebrate, commiserate, strategise, demonstrate, debate, build, support, wonder, laugh,
enjoy and create with people who have shared values. We hope this enables us to make even the smallest
contribution to creating a better world together.

Were all acutely aware of the environmental impact of our travel plans and consciously look to travel
only when necessary in line with each of our projects and the expectations of our funders or those who
invite us to collaborate. However, at a time when humans are increasingly divided on the grounds of their
religion, race, social, educational or economic status we are committed to connecting with people where
they are, sharing cultures and focusing on the things that bring us together.

The map shows many of the places weve visited during the projects featured in this review. What it cant
possibly illustrate are the many deep and ongoing friendships that have emerged through various research
collaborations across the world.

p.7
p.8
 Interactive

p.9
 We create and
test technologies
and systems
with communities,
organisations and
individuals. We absorb
their experiences
and refine our
demonstrators
whilst sharing what
weve learned
along the way

METHODS & PROCESS

Prototyping Interactive
When Nicholas Negroponte, author of Being Digital,
co-founded the MIT Media Lab he came up with
a very simple - and yet in many academic circles
- contentious phrase demo or die. Negroponte
had grown tired of traditional academic processes
of peer-reviewed papers. He also recognised
that creative people make work - they dont do
scientific experiments.

For the Media Innovation Studio team

those foundational thoughts are a
genuine inspiration. We build things. We
take physical demonstrators - often very
crudely fabricated, almost Heath Robinson-
like working objects out into the real world and
ask people to interact with them. We create and
test technologies and systems with communities,
organisations and individuals. We absorb their
experiences and refine our demonstrators whilst
sharing what weve learned along the way. Whether
its software, hardware, methods or processes, we
are 100 percent committed to getting them out of the
lab and into the real world. Prototyping is present at
the beginning of every project, from conceptualising the ideas on white
boards to using digital services.

We create paper prototypes, mock-ups and demonstrators to discuss the project

within the team, but also as a method of explaining the research to partners and
collaborators. After this we tend to create a working version. This could be a data
set or mobile application, a piece of film or a plan for a workshop. The prototype
is then used in alpha and beta testing, to then be applied in an iterative model in
producing the final output.

p.11
Co-design
Co-design is an attempt to define a problem and create a collective response. It differs from
participatory design in a couple of important ways. Firstly, its not driven by the political will
to redress the imbalance between management and workers by shifting power from the latter to
the former. Secondly, its usually applied to the creation of a product or development of computer
software.

The Media Innovation Studio team uses co-design and co-creation - the collective building of an
object developed through co-design - for almost any project that involves the creation of a new
product, whether its hardware or software. Consequently, there are several examples of co-design
throughout this publication. Projects including Bespoke, Interactive Newsprint, Digital Playscripts
and DataMakers all feature elements of co-design.

p.12
Participatory design
Despite the apparent interchangeable use of the words participatory design and co-design and the
increasingly shared methods used in each process they are distinguished from each other by their original
intent.

Participatory design was a political process created to include workers in the design of and decisions
about their environment and working practices. Its focus was on improving facilities and physical space
and providing factory workers with the opportunity to contribute to developing policies that directly
affected their employment.

The Media Innovation Studio team uses participatory design when working with communities, local
authorities and non-governmental organisations who want to bring about change. The Speak Up Preston
project delivered a series of participatory design workshops in three communities in Preston after the
closure of a well established neighbourhood management scheme left local residents without a collective
voice. The workshops formed part of Nestas Neighbourhood Challenge series and were delivered in
community spaces in the three Preston wards of St Matthews, Ribbleton and Deepdale. Members
from each community presented a series of issues during a workshop using open space as a method of
facilitation (see Creative Facilitation). Midway through each workshop, participants worked with local
councils, charities and representatives from the emergency services and local health provision to redesign
and improve the way they interacted with or were served by them.

p.13
Creative Facilitation
Since its inception, the Media Innovation Studio has worked with a number of creative facilitators
and regularly delivers its own facilitated workshops. We offer creative facilitation services to
companies, communities and colleagues so that they can meet the aims of their workshop, and not
worry about designing or delivering the processes that will get them there.

Creative facilitation is simple but its not easy. Its simple inasmuch as it involves the planning,
coordination and delivery of an interactive workshop. Its not easy because the workshops often
have to achieve complex outcomes in relatively short periods of time.

Good creative facilitation will engage all those participating. It draws on a range of techniques to
lead people through a process thats often quite playful, enabling them to contribute openly and
honestly to the generation of new ideas or resolution of difficult issues together.

Great creative facilitation will do all this without people feeling they are being facilitated.

The Media Innovation Studio offers access to a unique technology, designed and built entirely
in house, called Remerge (detailed elsewhere in this publication) which can be used alongside
other creative facilitation tools like LEGO Serious Play, scenario building and simulations, world
cafe conversations, hack-jams and role play sessions to fuel discussion and deliver successful
workshops.

From early projects such as Meld and InFuze to current work like Media Lab Playground,
Collaborative Revenue Capture and Trinity Mirror - creative facilitation is another aspect of our
work and a very useful tool in the box!

p.14
Great creative facilitation will do all this without
people feeling they are being facilitated
Hacks and Making
Hackathons (hacks) are a great way to generate buzz and drive
innovation, and were passionate about hosting and participating in them.
Hacks bring together a diverse range of people around a specific cause or problem,
allowing us to experiment with ideas quickly and creatively. Hosting hacks enables us to reach
out and work with specific communities to test research or analyse findings. Its not just the
topic of the hack thats important, its the fact that its fun too. Short timescales create an intense
and creative atmosphere where teams need a strong focus and ingenuity. Our hacks also throw
mentors and masterclasses into the mix, and the added bonus of junk food (and sometimes beer).
Were also conscious of the limitations of hacks, and are working on support models that can
take the concepts from a hack to a short sprint, to a fully-functioning product, business, charity
or process. Over the course of the last year, we have hosted two DroneHacks, which have spun
out projects and skills that were transferable into the types of drone projects we have to date (for
more information on this, please refer to the Drone section).

p.16
Hacks bring together a
diverse range of people
around a specific cause
or problem, allowing us
to experiment with ideas
quickly and creatively

p.17
Insight Journalism offers a
radical approach to design
and service provision for
communities
Insight Journalism
Developed during the Research Council UK (RCUK) funded Bespoke project, Insight Journalism
offers a radical approach to design and service provision for communities. It blends community-
centred storytelling, journalisms critical and investigative approach with the skill sets of
designers, makers and doers.

By fostering community action and innovation through storytelling and journalism, Insight
Journalism moves beyond simply giving a community a voice. Instead, it seeks to inspire action
as a result of the journalistic stories that are told, whether they be through audio, video, image
or text. A central aim is to connect communities to design and expertise, and produce innovative
concepts and solutions specifically tailored to the storytelling communities.

But the method does not simply end here.

An integral part of the approach is that journalistic activity continues to focus on the designs
or services after they are installed. As such, Insight Journalism provides a critical reflection,
emanating from the community, on whatever design, service or innovation has been created as a
result of their stories. This process constructs a re-envisioned Fourth Estate between communities
and those with whom they partner. The result is an ecosystem where stories inform an iterative
community-centred design approach that is relevant to participants.

p.19
Slack
Slack is a team collaboration tool that offers searchable messages and files via a chat-like interface.

Over the last year, Slack established itself within the team collaboration platform market. The Media
Innovation Studio is one of 1.7 million active daily users to communicate directly, publically or
privately. Alongside its ability to allow users to chat and share files, it integrates with other third
party applications and industry platforms like Skype and Dropbox. Over the last six months, weve
adopted Slack for internal and external communication on a number of levels: we have posted 17,000
messages, shared 511 files and built three integrations. What makes Slack different is its ability
to allow third party developers access to its platform via its Application Programming Interfaces
(APIs).

With a growing interdisciplinary team, we found that a management technique through weekly
debriefs in a That Was, The Week, That Was! email was born out of a need to communicate the
practices, successes and to share in failures and lessons learned across a dynamic and motivated
team of researchers. The aim of the weekly summary was in part to ensure everybody knew and
understood what everyone else was doing, just so they could work out whether there were potential
synergies and crossovers with their own work. We have now adopted this through Slack, each project
has its own channel, and each channel has its own set of members. Messages are posted to keep
everyone informed of the goings on within the project. If something should be included in the weekly
TWTWTW round up, users must tag their content with a specific identifier [twtwtw].

Alongside this, we have utilised Slacks communication protocol in a number of (very important)
ways; the first being for Halloween (trick or treat) where if someone mentioned Halloween in their
posts, a bespoke piece of hardware connected to the gumball machine and the Internet (refer to
littleBits) would decide if that user deserved a trick or a treat. In turn, the machine would flash a
skull for a trick or turn the sweets out and reward the user. We have also used Slack as a way of
automatically sending auto-generated private messages in the pairing up of members in the team
for secret Santa, using SlackBot to notify that user who their recipient should be.

Over the next year, we plan to use Slack further, decreasing the number of emails we send and plan
to build more applications that run on Slacks platform, followed up by further research in the area
of online collaboration and blended learning.

p.20
The Bespoke
method of Insight
Journalism
democratised the
design process by
giving designers
access to a range
of local voices and
perspectives

PREVIOUS WORK
Bespoke
Thought of as a foundation project for the Media Innovation Studio, Bespoke ran between 2009 and
2011. It sought to understand how insights created during a community journalism initiative in
two deprived areas of Preston could be used within a process of community innovation and design
to improve peoples lives. For the research team in Preston, it had an emphasis on the training and
practice of the community-level media-makers we came to call Insight Journalists.

Bespoke had a diverse interdisciplinary research team that was assembled during an Engineering
and Physical Sciences Research Council (EPSRC) Sandpit in 2008. Partnering universities included
the University of Central Lancashire, University of Surrey, University of Dundee, Falmouth University
and Newcastle University. As the project evolved it grew to include international industry partners
from Microsoft, Nokia, Johnston Press, the BBC and T-Mobile, as well as national social housing
organisations and local community groups.

Bespoke was located in the Callon and Fishwick areas of Preston for several reasons. Primarily,
researcher Paul Egglestone had previously worked with community associations successfully in the
area, building trust among a range of individuals and organisations. Equally, there was an interest
in media representation pre-existing in the area locals had been depicted quite poorly in the past
(for example being featured in the Neighbours from Hell TV programme and being labelled race hate
capital of Britain). Importantly, within the context of the original funding call, the project also had
the potential to satisfy the aims of Research Council UKs Digital Economy programme. This funding
strand seeks to rapidly realise the transformational impact of digital technologies on community
life, cultural experiences, future society, and the economy. At the time, UK Home Office statistics
suggested people living in Callon and Fishwick were among the ten percent most deprived in the UK.
By creating a community-led innovation project, an opportunity was identified to explore how digital
technologies could be designed to enable a greater uptake and access.

The Bespoke method of Insight Journalism democratised the design process by giving designers
access to a range of local voices and perspectives. The community collectively determined their own
needs, commissioning designers to respond to them before feeding back on the final designs through
their journalism. Instead of top-down workshops where designers invited people to produce design
requirements, the process of Insight Journalism offered a greater level of transparency and reflexivity,
thinking less about narrowly defined user needs and more about sets of relationships and practices.

Interactive voting box Viewpoint was one of the most successful designs to evolve through Insight
Journalism. Located in three areas of Callon and Fishwick, it presented a weekly question to the
community, and garnered responses via a simple yes/no buttons. Questions were asked by a diverse
range of individuals and organisations spanning local drama groups, city councillors and housing
providers.

p.23
If an organisation asked a question using Viewpoint, they had to concretely respond to the result,
either through a direct action or a commitment. It combined two basic elements of journalism:
content and design. Content comprises information people need to make better informed decisions
about issues that directly affect them whether its housing, vandalism, plans for a new community
centre or where a litter bin should be placed on their street. Like all grassroots journalism, it strives
to ensure that decisions are open and transparent. The design element creates a vehicle through
which the journalism is delivered, and the communitys voice represented. But its a voice which is
not only heard but loud enough to demand a suitable and considered response that shows a genuine
understanding of whats needed.

Some were sceptical about Viewpoints aim. Would it simply raise expectations and fail to deliver any
tangible benefits?

Viewpoint works because everyone whos involved, from the families on the Callon and Fishwick
estates, to the councillors, housing officers and researchers, understand the importance of
commitment and communication. For example if someone asks a question about whether dog fouling
is a priority issue for the area then the recipient knows it must be answered quickly and honestly.
Their answer is not only communicated to everyone but is followed up to ensure promises to resolve
the issue are kept.Viewpoint is the projects defining moment. It represents the difference between
empty political rhetoric and grassroots reality. Rather than connecting the community to a formulaic,
centralised and faceless bureaucratic process it links people to people, enabling everyone to change
things for the better.

Speak Up Preston
Speak Up Preston began in 2011 as an innovative collaboration combining the strengths of community
radio station Preston FM, the Bespoke Project, Community Service Volunteers VolTV operation in
Preston and hyper-local news site Blog Preston.

Together we recruited, trained and worked with citizen journalists in the electoral wards of Deepdale,
Ribbleton and St Matthews. According to the most recent government figures, the three areas
combined have a population of over 20,000 people and the aim of Speak Up Preston was to provide a
platform for those individuals stories. The stories fed into a community action initiative, where small
groups of residents came together to form projects related to some of the issues and topics raised in
the journalism. Using innovative facilitation to further develop the ideas, these teams then pitched for
micro-funding to support these small prototype projects.

Although Speak Up Preston only ran for a short period, our journalism teams were re-envisaged for the
citys community radio station Preston FM, broadcasting three-times a week and covering local news,
sports and cultural activities.

p.24
p.25
...actors, audience
members, students and
theatre staff performed the
role of insight journalists
creating a nightly newspaper
reflecting on the production
and the collaboration...
Punchdrunk
Working with immersive theatre company Punchdrunk in New York was a definite highlight and an
early application of our Insight Journalism method since the Bespoke project.

Launched in 2013 the Arts and Humanities Research Council in collaboration with Nesta, the two-
year Digital Research & Development fund aimed to create new links between professional arts
companies, artists, performers, technologists and academics. Through a series of networking events
potential collaborators were brought together to design a project and pitch for funding to deliver it.

Punchdrunk were one arts organisation who were successful in winning grant funding to work with
MIT (Massachusets Institute of Technology) on a project designed to see if technology could help
them increase audiences for their performances.

Punchdrunk persuaded Professor Todd Machover from MIT to see if he could find new ways of taking
their highly immersive and regularly sold out theatre production Sleep No More from a specially
designed New York hotel set into the homes of people who either couldnt get tickets to the shows or
werent based in New York. Punchdrunk wanted to offer new audiences a virtual experience of the
critically acclaimed production.

The technology team from MIT experimented with various sensor technologies activated by audience
members as they moved through the hotel set. They became avatars for online viewers, activating
additional content interacting silently with others in the audience and examining the objects placed
within the set as part of the performance. This was transmitted via the web to an online viewer who
could also communicate with their avatar asking them to look more closely at some of the clues
that were part of the performance.

Led by Dan Dixon of the University of the West of England and accompanied by Professor Jon Rogers
from the Product Design Studio at the University of Dundee and Media Innovation Studio director
Paul Egglestone, the team worked with Punchdrunk and MIT to test technology and evaluate the
project and processes using Insight Journalism.

For this project, actors, audience members, students and theatre staff performed the role of insight
journalists creating a nightly newspaper reflecting on the production and the collaboration, and
exploring what worked well and what didnt. The entire project is documented in the final digital
R&D report for Sleep No More, which is available online from the Media Innovation Studio website.

p.27
UnLimited Theatre: Digital Playscripts
A second Media Innovation Studio AHRC digital R&D project came in the form of a 2014
collaboration with Leeds-based Unlimited Theatre, London-based creative tech company Storythings
and the University of Dundees Product Design Studio. The Insight Journalism method developed
during the Bespoke project was used to document and evaluate an exciting attempt to create a
new digital platform for play scripts. Unlimited Theatres Make Some Noise script was used by a
community of audience members, who themselves became part of the new platforms design team.

A regular series of co-design workshops brought together computer technologists, product

designers, playwrights, actors and the audience community. They experimented with new ways of
presenting play scripts digitally on mobile, tablet and online platforms. The idea was to enhance the
experience of reading a play script by creating atmosphere through sound effects or changing the
brightness or colour of the screen to emotionally engage readers.

Key to the success of the project was the recognition that everybody involved contributed in some
way to the final product. This meant thinking about how individuals and members of the audience
community would be rewarded for their creative input - sharing their intellectual property. The
decision to establish a community interest company to share revenues from the new platform was
a genuine breakthrough - not only for the Make Some Noise project but for other projects, such as
hyperlocal community journalism websites, which also rely on peoples willingness to share ideas
and content openly.

The team felt the process was so successful they produced the short How to Co-Design our Digital
Future book describing the project and sharing the processes they had developed to encourage
others to experiment with community co-design. It was launched in 2014 at the Arts and Humanities
Research Council creative economy showcase in London. It is available along with the final project
report via the Media Innovation Studio website.

p.28
 Key to the success of the
project was the recognition
that everybody involved
contributed in some way to
the final product

p.29
InFUZE
InFUZE combined the expertise and resources of the BBC with the skills and experience of leaders
in convergence and multiplatform journalism training at UCLan. The aim of the programme was to
take ten journalists from traditional news backgrounds in print and broadcast and to equip them
with the digital skills required to secure jobs as cross platform content creators working across
the traditional media disciplines and online platforms.

During March and May 2009, delegates were introduced to a series of techniques designed to
help seed stories and grow audiences quickly - developing and managing online communities and
networks in the process. These practical backpack journalism workshops also included sessions
on laptop editing using digital video cameras and mobile phones, and a range of relevant software
(from incorporating Flickr, Dipity and Twitter to uploading and connecting geo-tagged images to
Google maps). The InFUZE course also included an industry placement where participants had the
opportunity to work alongside online and digital staff at the BBC and ITV as well as several radio
stations and regional newspapers.

InFUZE culminated in a final practical workshop session before introducing delegates to senior
online editors from industry (Reuters, the BBC, Johnston Press and Journalism.co.uk) where they
presented personal websites demonstrating their work.

Media Lab
The Open Media Innovation Lab in 2014 brought together multidisciplinary participants to create
media start-ups in 48 hours. Participants included university students, mentors, coders, media
and business experts, and entrepreneurs.

Through a series of facilitated sessions, mentoring and workshops, the teams worked across a
weekend, which culminated in a Dragons Den style pitching event where business proposals and
prototypes were presented to high-profile media representatives. The process was outputted live
through multimedia and social media to make the lab ecosystem collaborative. This Research
Council UK funded event was run in collaboration with 48-hour media start-up specialist Media
Lab Session. The aim was to feed into larger discussions around media business models online,
and open innovation processes, as a way to facilitate SME growth across a range of sectors.

readymag.com/u61590527/32443/

p.31
Meld
Meld was an innovative creative ideas project which brought together journalists from across
the media spectrum. Held in 2007 and 2008, the project was a collaboration between UCLans
Department of Journalism and journalists from the BBC, Sky News, the Times, the Independent,
Haymarket Media, Johnston Press and Trinity Mirror. Editors, designers, reporters and filmmakers
turned their attention to what the media landscape might look like in a decade and to what skills
journalists will need to work in a constantly changing media environment.

Interactive Newsprint
Interactive Newsprint provided an opportunity to open up new and innovative paths of
communication and dialogue between researchers, communities, publishers and technologists,
re-constituting what it means to understand the roles and responses to information and
communications technology. It also explored the lived experiences of access to digital media and
social exclusion.

Bringing together researchers from the Media Innovation Studio, the Product Design Studio at the
University of Dundee, the University of Surreys Digital World Research Centre and technology
partner Novalia, the project worked with a diverse range of communities from across Preston.
Between 2011 and 2013, local, national and international publishers collaborated with Interactive
Newsprint and produced a series of nine physical co-designed prototype paper products that
turned paper into digital storytelling platforms. The demonstrators could respond to human touch,
play audio, receive emails and collect votes, and also explored the advances in printed electronics
and paper-based web connectivity. In many ways, this research explored fundamental elements of
the Studios research interests: the creation and use of information technologies to both empower
individual citizens and promote democratic ideals through enabling people to create and share
their own news and information on a new platform they co-designed. Existing local journalism
and content, produced for the platform by the community, assisted in the development of new
forms of digital storytelling and more effective ways of connecting communities to local news and
information.

The co-design of a new platform was enabled by developments in printed electronics which
allow digital devices and interfaces to be built into paper documents, including audio storage,
speakers, microphones, buttons, sliders, colour changing fibres, LED text displays and mobile
communication.The project team connected paper to the Internet. In tandem, they developed
a system for recording peoples interactions with print online - we now call this output Paper
Data. Simple touches of specific areas on the paper; multiple presses on the same area of the
paper; multiple presses on multiple areas of the paper were stored on a database and represented
graphically to the community, publishers and journalists. This had never been done before.

p.32
For the media industry, the Interactive
Newsprint project was a response to the
systemic failure of newspapers to invest in
their own future. The project was delivered
in the context of the continuing decline of the
newspaper industry in the developed world. It
recognised the different communication paradigm
created by physical-digital media and offered an
alternative response to policy based initiatives to save
print journalism.

By connecting the rapidly developing field of printed

electronics to the newsprint industry, Interactive Newsprint
offered newspapers a third-way that of innovation within the
platform itself.

The Project has won two awards. Netexplo, a global initiative and network of journalists,
scientists and academics, has listed Interactive Newsprint as one of the worlds top 100
outstanding innovations. The RCUK Digital Economy also awarded its Telling Tales of
Engagement award. Prototypes were also exhibited at the prestigious London Design Festival
in September 2012. The Design Festival attracted an estimated 350,000 people and
received extensive media coverage. In addition to articles in the national press,
the Interactive Newsprint project also received a Best of the Festival
commendation from the prestigious Blueprint magazine.
Our work around conductive inks has expanded
beyond Interactive Newsprint, and is
most recently seen in the EKKO
and Interface projects.

p.33
 Civic Drone Centre has sought to
examine and explore ethical, engineering,
legal and digital opportunities around the
burgeoning UAV market.

DRONES
Civic Drone Centre
The Civic Drone Centre is a two-year project between the University of Central Lancashires Media
Innovation Studio and Engineering Innovation Centre designed to examine innovative drone uses
and marketplaces across four streams: search and rescue, media, agriculture and humanitarian
aid.

Over the last twelve months, the Civic Drone Centre has sought to examine and explore ethical,
engineering, legal and digital opportunities around the burgeoning UAV market. It has also used
innovative techniques - such as rapid prototyping, crowdsourcing and hackathons - to catalyse
innovation within the drone community.

It seeks to work closely with established aerospace SMEs, multi-disciplinary academics and the
north-west regions manufacturing sector to provide progressive hard- and software development
for Unmanned Aerial Vehicles (UAVs) in non-military uses. Using standard development pathways
alongside innovative facilitation techniques, such as community co-creation, hack-jams,
multidisciplinary study sandpit sessions and creative prototyping techniques, the centre hopes to
create rapid innovation within an already evolving sector.

The Civic Drone Centre seeks to develop these relationships and explore how this emergent field
could impact on the UK and global digital economy, particularly through the potential of new
industry partnerships, commercial applications and new revenue streams.

p.35
aeroSee
Search and rescue tool aeroSee utilises drone-shot images, tagged with location data, and
disperses them across the web to a global community of virtual search and rescue agents.
These agents sift through a fraction of the total images tagging them if they see a person. This
crowdsourced approach of search and rescue hopes to offer a safer and more efficient way to find
missing persons.

An earlier version of aeroSee (2013) provided the foundation of collaboration between UCLans
Media Innovation Studio and Engineering Innovation Centre - this relationship resulted in the
creation of the Civic Drone Centre.

As a previous nominee for the Design Museums 2014 Design of the Year award, aeroSees 2015
update saw the redesign of the interface taking inspiration from Tinder, Facebook, and Twitter
with a simple Yes/No choice, new sorting algorithm and the development of a requirements brief
for search and rescue organisations to adopt.

In December 2015, working with a UAV specialists IRIS Group and search and rescue professionals
aeroSee was used in the search for missing 18-year-old Fredrik Johannessen Lie, who was known
to be in the vicinity of Ekerhovd, on Sotra, Norway on January 1st 2015. We aim to continue to
research, and develop and refine aeroSee for the global search and rescue community over the
course of 2016.

p.36
The best idea
goes home
with the much
coveted (plastic)
golden drone
trophy
DroneHack
Over the course of 2015 we held two DroneHacks at the in the Media Innovation Studio with with
one goal in mind designing, building, and flying a drone. Each hack offers teams a core stock of
essential parts and UAV platforms, injecting real world problems into the process. The hacks were
centred on the theme of humanitarian use of drones. There are two more planned for 2016 on the
themes of Media and Transportation. These events build on the model aircraft DIY and builder
origins of drones, capturing their innovative nature to solving problems with what is available to
them.

Teams are created with a balance between those with the technical knowhow, such as coding or
electronics and those with expertise from working on-the ground. Once provided with all the parts
and tools they need to build and fly a drone, theyre supported by the Civic Drone Centres Drone
Doctors to help troubleshoot problems.

The best idea goes home with the much coveted (plastic) golden drone trophy.

p.39
Gesture Control
When you take the pilot out of an aircraft you open up possibilities of controlling it in vastly
different ways. The Civic Drone Centre and the Allied Health Professionals Research Unit are
exploring the development of gesture control for drone serious games used for purposes other
than entertaining, such as education or rehabilitation.

Various non-invasive wearable sensors can be placed on a person through which they can control
a drone using physiological or biomechanical signals, such as muscle activity or a simple gesture
replacing the traditional RC-controller or laptop.

This method of drone control can be coupled with various rehabilitation principles for different
conditions, thus allowing effective therapeutic interventions through playing with the drone. The
same sensors which control the drone also capture accurate and useful data on movement when
flying, which can be used to monitor progress and plan future rehabilitation activities.

p.40
 The Civic Drone
Centre is also
inspiring the next
generation of
pilots, engineers,
programmers and
technologists
Drone Education
Many people are unaware that there are rules and regulations around drone use. To help educate
people on drones, their civilian uses, and what the laws are, the Civic Drone Centre has started
several activities.

With The Great Circle flight school, the Civic Drone Centre has become a National Qualified Entity
(NQE) and set up the UACE Unmanned Aviator Certificate of Expertise a UK Civil Aviation
Authority-approved commercial qualification.

In addition to the training, the Civic Drone Centre is also inspiring the next generation of pilots,
engineers, programmers and technologists. The centre has run stands at both the Manchester and
Lancashire Science Festivals to teach groups young and old about the technology, uses and the
future of drones.

p.43
United Utilities
United Utilities is one of the Civic Drone Centres prototype projects, and assesses the viability of
using a UAV-mounted vision system to inspect the inside of fluid handling tanks.

Fluid handling tanks, otherwise known as digestion tanks, must be periodically inspected for any
deterioration in the structure such as cracks and corrosion, and other damage that could lead
to gas escaping. The normal approach to this is to drain the tank, erect scaffolding inside it and
photograph and visually inspect the tank.

Our approach is to use a camera and a UAV to partially automate the process of inspection. Were
developing systems for accurate and stabilised position control as well as photography or filming.
The project is currently focussing on the challenges of reliability, integration and payload.

We are working with United Utilities as the main user of the service that our Confined Space
Inspector Drone can provide. Our test environments include empty digestion tanks in a water
treatment centre, enclosed spaces at UCLan sports facilities and airplane hangers in Blackpool
Airport.

p.44
Policy, Ethics & Law
The earthquake in Nepal in April this year brought both the pros and cons of drone usage in
disaster zones into sharp focus. The scale of the quake and the subsequent aftershock seemed
to suggest UAVs as the safest and possibly best tool to provide an overview of the scene for first
responders.

However, the premise for this scenario assumes that the drones in question will be deployed, and
therefore under the control of, humanitarian or search and rescue (SAR) professionals. It is also
assumed that these professionals would have the knowledge, skills and experience to follow the
operational protocols under which any international rescue mission operates.

The truth of the matter is that, for now at least, the most likely drone operators in a disaster
scenario will not be on the staff of the local SAR team or a member of a legitimate NGO. They
will, however, be driven by a passion to assist the people at the epicentre of the disaster. They will
have technological and some aviation expertise. And they will have the sort of kit that is able to
supply video and data that is of value to SAR teams, emergency responders and aid workers in the
disaster zone.

In July 2015, the Civic Drone Centre participated in a policy forum supported by the Rockefeller
Foundation in Bellagio, Italy.

The purpose of the forum, led by Dr Patrick Meier, was to draft guidelines for the safe, coordinated
and effective use of UAVs in humanitarian settings.

A cross-section of experts that ranged from the UN Office for the Coordination of Humanitarian
Affairs, the International Committee of the Red Cross, to UAV manufacturer DJI and other
independent experts met to produce a series of guidelines focusing on five priority areas identified
during a full-day Humanitarian UAV Experts Meeting co-organised at the UN Secretariat in New
York in November 2014. These five policy areas spanned code of conduct, data ethics, community-
engagement, principled partnerships and conflict sensitivity.

The guidelines will be officially launched at the World Humanitarian Summit in 2016.

p.47
Interactive

WEARABLES
 Finding new ways to tell stories is something were
passionate about here at the Studio and our sensor
journalism approach is a good example of that

Rans Dash
With temperatures reaching more than 50 degrees Celsius, a total distance of 156 miles, Saharan
sand dunes, limited water and nutrition, and 1,360 competitors, the Marathon des Sables (MdS)
is one of the toughest events on the globe. 2015 saw the UKs Sir Ranulph Fiennes compete in
the MdS on behalf of the charity Marie Curie, the Media Innovation Studio collaborated with
production company Fieldcraft Studios and Kingston University to chart his attempt at the Earths
most challenging race.

Using a range of sensors and data sets spanning geolocation, heart rate, fluid consumption and
calories burnt, media from Fieldcraft Studios and analysis from Kingston University sports
scientists, the Media Innovation Studio team created a daily visualisation mapping tool, allowing
users to experience Sir Ranulphs Marathon des Sables. The work was completed under the
DataMakers project, where RansDash laid the foundations for other sensor-based data dashboard
projects.

Finding new ways to tell stories is something were passionate about here at the Studio and our
sensor journalism approach is a good example of that.

Designing and building Rans digital dashboard allows us to pull in performance data from
wearable technology sensors, combine it with great images from the Fieldcraft team over in Africa
and convey the physiological effects of one of the worlds most gruelling challenges on the human
body.

p.49
Glass Journalism
Initiated in 2014, our ongoing Google Glass work aims to
understand how a wearable content-capture device could
perform in journalistic contexts. Working with Eduardo
Pellanda and Andr Pase at Ubilab research centre at PURCS
university, Porto Alegre, Brazil, our research has deployed Glass
in a wide range of editorial scenarios in the UK, Latin America
and north Africa.

Industry partners have included the Liverpool Echo, Journalism.

co.uk, Zero Hora and Fieldcraft Studios, who took Glass to a
multimedia production in the Sahara.

The study examines both the potential technological and editorial

barriers to entry and storytelling opportunities for this wearable
technology and accompanying platform, both of which are reportedly
being iterated by Google.

Our focus includes how Glass can be used by journalists, influence the
types of content that is gathered, and how its digital connectivity is used
by editorial operations. It explores how newsrooms integrate Glass into their
workflows and practices, informing innovation and adoption more generally as
to how editorial teams respond to new technologies.

Future work hopes to expand to focus on wearables as content capture tools, and the
process through which editorial teams integrate them (or not) within their operations.

p.50
Our focus includes how Glass can
be used by journalists, influence the
types of content that is gathered, and
how its digital connectivity is used by
editorial operations

p.51
Interactive

DATA
Media Mill
Over the last ten years, local government has generated an ever-increasing mountain of data
covering what it does, and how it works. Its also opened it up for people to explore and use.
Thousands of data sets on everything from when the bins are emptied to monthly council
spending is available making government more transparent and accountable. This raw data is
seen as the fuel for exciting innovations like Smart Cities and key to unlocking the potential of big
data.

But how much of this data is actually useful? How much does it help the average citizen
understand how their councils work? How much does it tell them about the city they live in?

Those are some of the questions we are exploring as part of the Media Mill Project. The 18-month
project is funded by UK innovation charity Nesta (National Endowment for Science Technology and
the Arts) and the UK governments innovation agency - InnovateUK.

Media Mill brings together Leeds-based media and technology company Hebeworks, Leeds City
Council, York City Council and the Media Innovation Studio to look at ways of creating compelling
content from open data to help people understand the city around them. The project has already
released its first product, an open source data dashboard called MySolomon. As research partner
for the project, we report on the project and sharing our findings on the role open data might have
in creating and supporting a hyperlocal media economy.

mediamillproject.uk
mysolomon.co.uk

p.53
...with the right skills,
hyperlocals could
be uniquely placed
to exploit the mix of
economic, civic and
social innovation that
open data promises
HLDJ
As more and more of our daily life are governed by data, many see data journalism skills as
key for the industry doing its job holding those in power to account. At the same time news
coverage at a local level is being cut back and hyperlocals, small content providers focussed
on a particular area, are seen as one way to fill the gap.

Inspired by our work on the Media Mill project, the Media Innovation Studio team wanted to
dive deeper into the world of hyperlocal journalism and understand more about how data is
being used. Our response was the HLDJ Conference. To get an idea of what was happening
in the space, we brought innovators from the sector together for a two-day conference.
Hyperlocal publishers like Urbs:London, The City Talking, On the Wight and The Bristol Cable
told us about how they approach data journalism and the new opportunities it has created.
We think that, with the right skills, hyperlocals could be uniquely placed to exploit the mix of
economic, civic and social innovation that open data promises.

That mix of skill and opportunity is something we call Hyplerlocal Data Journalism (HLDJ),
and well be exploring that in more depth over the coming year.

p.55
DataMakers
Our lives are defined by data. From the offers your supermarket send you based on your loyalty
card spending to government decisions about funding social care. Experts talk about the sheer
amount of data being produced as big data - too much data produced too fast to make any real
sense of it. It sometimes feels that the data about us and the communities we live in can get
lost in the cloud along with the ability to really use it to change things at a community level.

The DataMakers project explores ways of making the creation and use of data more accessible
and most importantly real. We are experimenting with ways for individuals to be part of the
process of collecting data to contribute to that decision making process. We have been working
with the local community, experimenting with sensors and mobile phones, to create a game
called UKKO to collect air quality data at a local level. Thats data the local community can use
to highlight bigger issues like traffic congestion or a healthier environment.

Were also committed to making that data open. Data thats created is owned by the
community and held as open data so that anyone can use it but it doesnt get lost. That
means building an understanding of what data is and how it can be used. So we are
also experimenting with new technologies like littleBits (an easy to use way to build
electronic circuits and devices) and collaborative design approaches to build the skills and
understanding communities need to start making data work for them.

DATAMAKERS

p.56
Data thats created is owned by the
community and held as open data so that
anyone can use it but it doesnt get lost
EKKO
Imagine paper that could detect
human touch, activate sound,
act as a games controller and
send and receive data from the web. Exploring
conductive inks, connected paper and physical-
digital analytics, EKKO is a clip that augments paper
by connecting a conductive ink matrix to the internet
via a dedicated smartphone app. In doing so,
it explores a relatively uncharted range of
interaction opportunities around paper and the
Internet of Things.

The Media Innovation Studio has worked on a

number of projects over the last five years, such
as Interactive Newsprint, that have examined how
conductive inks, printed electronics and augmented
print could impact on journalism and the media
sector. EKKO is the most recent example: a collaboration
between our research team, creative agency Uniform and
the University of Dundee.

The team worked with a range of industry partners which

spanned the Liverpool Echo, Stuff Magazine and book
publishers. Our prototypes included a magazine that doubles
as a paper games controller and a newspaper pull-out that, by
simply touching the paper, allows readers to listen to
audio commentaries of former Liverpool captain
Steven Gerrards greatest goals.

Although EKKO isnt yet available commercially, papers and

posters presenting it in academic contexts won a number
of national and international awards during 2015. These
include the Interactive Tables and Surfaces conferences
best poster presentation and the British HCI best workin
progress and poster award.

p.58
 Interactive

INTERNET
OF
THINGS
Rare Occurrence
Development of the Internet of Things (IoT) continued apace over 2015 - creating a buzz in the
public domain and in academic contexts. IoT can be an ambiguous term, spanning a wide range
of things as diverse as connected cars, smart fridges, smart city sensors and monitoring and
wearable computing devices.

These things, sometimes referred to as connected objects, can be always on, always present and
always active. Rare Occurrence takes a different approach. It creates a range of IoT objects, but
with a different emphasis: one where users activate digital content only seldomly.

In this way, the early-stage collaboration between the Media Innovation Studio and Bristol-based
product studio Thomas Buchanan offers an alternative rendering of the Internet of Things. It asks
whether simple and infrequent interactions with connected objects can create enhanced meaning
and experience within the always-on, white noise-fuelled digital cacophony of the web.

Rare Occurrence strives to cut through the superfluous and create digital objects with personal
resonance.

The project currently has three prototypes. Infrequency is an alternative take on always-on radio
transmission. Users can access audio content based on when they tap and tilt the object. Snow Day
(pictured) is a playful take on a Twitter-activated alert system that signals when schools are closed
and Route B is an alternative directions object that responds to live traffic updates, and helps you
find the quickest route to work, or back home.

p.60
 Interactive

Rare Occurrence
strives to cut
through the
superfluous
and create
digital objects
with personal
resonance
Interface of Things
This project runs in tandem with EKKO and Rare Occurrence, both of which explore how physical
items can exist within the three-dimensional digital ecosystem of the Internet of Things (IoT).

Interface is the digital platform that connects IoT objects, acting both as a content management
system and analytics suite for connected objects. Developed in collaboration with product
development studio Thomas Buchanan and supported by Adrian Gradinar of TransparentBug,
Interface enables physical devices and seeks to understand user interactions via a range of
datasets and visualisations.

It allows users to update conductive ink media, such as audio files that activate via a user
touching the relevant part of a printed design, or for newsrooms to update this subject remotely.

It also provides a tool for integrating future IoT work and research from within the Media
Innovation Studio, and were hoping to deploy Interface in new ways over the course of 2016 and
beyond.

p.62
INTERNET
OF
THINGS
littleBits
As we experiment with different
technologies and platforms,
we have noticed a gap in the
market for a physical platform
to enable children to combine
and explore digital creativity,
design and technology. Thats why
we love littleBits. With its block-
based nature somewhat similar to
LEGO, littleBits is a snap together platform
of electronic building blocks. Its the perfect platform to engage
engineers, artists and designers. Alongside their extensive library
of electronic blocks, littleBits provide recipes to introduce make
culture and their open source approach means that creators can
develop their own bits.

The lightweight nature of the bits means it is easy to combine them with
cardboard, plastic and paper to hack together prototypes. So kids can then
start to understand about the objects around them from how a lamp works to
how a house alarm system works.

Since getting our hands on the kits and becoming part of the littleBits chapter
worldwide programme, we have hosted a number of workshops providing a hands-
on experience to children and University students. We also practice what we preach
- experimenting with littleBits in the Studio. Our first project was to monitor the number
of coffees we drink, we use the littleBits platform to count this which pushes the data to
the cloud and becomes part of the Studio Data dashboard on the Media Innovation Studios
homepage. The other project combines collaboration platform Slack with littleBits in creating a
trick or treat machine. When a message is sent over Slack, the littleBits cloud pushes an action
to the project which turns a motor inside a gumball machine and turns the cog for sweets to
be dispensed. Over the next year, we plan to run more workshops, research the findings and
continue to develop with littleBits in playful and productive ways.

p.64
 Interactive

Since
getting our
hands on the
kits and becoming
part of the littleBits
chapter worldwide
programme, we have hosted
a number of workshops providing a
hands-on experience to children...
 The sessions
explore all
aspects of their
digital strategy
with a mix of
hands-on training
presentations and
conversation...

INNOVATION
Trinity Mirror
Trinity Mirror is the largest newspaper group in
the UK with nearly 300 regional and national titles.
Theyve invested heavily in digital innovation at
all levels of the business including high profile
experiments like social news site USVTH3M, data
journalism site Ammp3d and a unique regional
data journalism team. Weve been lucky to work
with them for nearly five years as they grow and
develop their digital strategy providing nearly 100
days of workshops for approximately 500 members
of staff.

The sessions explore all aspects of their digital

strategy with a mix of hands-on training,
presentations and conversation to explore what it
means to be a digital influencer in a newsroom, the
challenges of managing changing newsrooms and
just whats possible with the amazing new digital
tools appearing everyday.

The workshops are a great way to get people out

of newsrooms and sharing their experiences and
think about the future. Weve had a range of guest
speakers from Twitter, the BBC, and national
and international news companies. Some of the
experiments in the workshop have made it into
the real world including the David Moyes Excuse
Generator, which generated millions of page views
when launched. Its hearts and minds strategy
with a practical focus - working journalists would
accept nothing less. We are really excited to have
the opportunity to work with Trinity Mirror. Their
open, collaborative approach means weve learned
loads about the way organisations are changing to
meet digital disruption head-on.

p.67
Fojo
Commissioned by Fojo Media Institute, a two-day workshop in Stockholm explored the unique
challenges faced by media in exile or restrictive environments and how social media strategies
could be used to overcome them.

Both media in exile (out-of-country news outlets feeding independent information into the country
of origin) and those in restrictive environments (in-country providing counter information) face
particular challenges in their news operations.

Often away from their homes, they are small teams spread internationally. News exists online,
occasionally in print, or shortwave radio near borders, satellites or phone-in radio. Outlets
are often unable to return home due to danger or warrants for their arrest, and many have
been abused, imprisoned or tortured. Social media is key to their online strategies and mission
to promote free expression and alternative news. Two bespoke resources were designed for
participants covering social media production tools and techniques, and providing new insights
into distribution.

p.68
Interactive
Collaborative Revenue Capture
As part of our ongoing projects exploring media in fragile states, the Media Innovation Studio has
been working to understand ways to make media outlets more sustainable. Both media in exile
and those in restrictive environments often rely on media development funding to survive. Yet they
are increasingly expected to diversify revenues. As a result, many outlets are faced with a tension:
the necessity to generate money in particularly challenging markets while continuing public
service journalism.

More than a dozen media providers joined experts and consultants from donor organisations such
as Open Society Foundation, Internews Europe and the Rory Peck Trust, with digital and creative
leaders in a workshop. The event, funded by RCUKs New Economic Models in the Digital Economy
(Nemode) strand, discussed alternative ways oppositional news outlets could generate revenues.

The work focussed on understanding how to articulate and define collaborative revenue capture
as a model. Instead of approaching revenue generation at the individual firm level, it explored
how digital technologies can facilitate new ways to generate income if news organisations worked
together. It designed and evaluated these new modes to attract income and then assessed the
extent to which collaborative revenue capture can be used for the benefit of the exiled media
sector.

Overall it explored ways collaboration between media, rather than working in isolation to chase
much-needed revenues, could be an option as a working solution for journalism business models.

This research theme will continue via networks exploring media innovation for such outlets, a
pilot project using proximity broadcasting for media in restricted environments, and a study on
the impact of social media.

readymag.com/54803/

p.71
GAMI
The Media Innovation Studio is one of the founding members of the World Association of
Newspapers (WAN-IFRA) Global Alliance for Media Innovation (GAMI).

Created in 2013, its aim is to connect the news industry with global research and development to
promote an innovation ecosystem for the news media industry.

Not surprisingly, the aims of the GAMI map naturally with those of the Media Innovation Studio -
as do many of the activities we have engaged in across the network already.

After its foundation in 2014, John Mills and Professor Paul Egglestone presented work from
the Media Innovation Studio to media professionals attending the WAN-IFRAs World Publishing
Expo in Amsterdam. Since then, team members have collaborated on a European research bid with
colleagues from the alliance.

Paul has also presented on behalf of GAMI to the New European Network Assembly at the 2015
London Digital Catapult. He also met senior European officials in Brussels as part of a workshop
designed to connect the media industry to opportunities provided by European Horizon 2020
research funding.

The GAMI network continues to grow. It offers a range of activities and opportunities to connect
with thousands of members who own media companies internationally and recognise the need for
innovation in their businesses.

p.72
Emerging media cultures in
Africas margins
The media landscape in Africa has radically changed following the (re)adoption of political
pluralism in large parts of the continent in the early 1990s. The private broadcast media, in
particular, has expanded exponentially, with numerous radio and TV stations now broadcasting
across the continent. Yet the 1990s media liberalisation project still remains an incomplete one.
The news media sector continues to face many challenges ranging from restrictive legal and policy
regimes to instances of ethno-political patronage.

This work on community media attempts to examine how new media is shaping community
journalism. More specifically, it is interested in exploring the ways in which new media is
influencing institutional journalistic practices in community journalism - how it is adopted but
also adapted locally. Does it, for instance, radically change the ethos and practices of (community)
journalism? Is it enabling a centering or de-centering of the margins? How do we understand the
very idea of community within the context of new media?

Discursively, elite interests have continued to dominate media discourse as a wealthy politico-
economic class continue to dominate media content. It is arguable that an epoch that had
promised a much more inclusive media has yet to realise that promise. In very general terms
therefore, the margins in Africa, a term used loosely to refer to minority interests - those
individuals or groups on the economic and political periphery - remain critically underrepresented
in mainstream media. It is for this reason that there has been a revival of interest in community
media, a sector, which, theoretically at least, is interested in the inclusion of those margins in
the media. Unlike the commercial private media, it is a sector that has traditionally, even if not
exclusively, focused on encouraging the growth of community radio and the broader legal and
policy infrastructure that can support its development.

p.74
EVENTS
Paper Evolutions
Printed batteries, posters capable of detecting touch, WiFi-blocking and noise-absorbing paper,
these are just a selection of innovations brought together in September 2015 by the Paper
Evolutions: Exploring Digital and Physical Paper Futures exhibition.

Hosted at VTT, the Technical Research Centre of Finland, in Espoo, near Helsinki, a selection of
16 exhibits invited people to consider a range of radical, digital and disruptive paper and print
technologies.

Paper Evolutions was co-curated by VTT, the Media Innovation Studio and Amsterdam-based HVB
Communications. It combined prototypes from across the COST Action FP1104 programme, part of
a European network to promote transnational cooperation, and Paper Breakthroughs - a travelling
exhibition showcasing innovative paper prototypes.

The Espoo event showcased some of the most interesting print, paper and fibre innovations taken
from across Europe. It also explored a range of diverse applications these materials could have.

Exhibits included packaging that incorporates sensors and links with your mobile, posters that
are capable of detecting human touch and printed batteries. But beyond the technology, the
collection sought to show how fibres from a range of materials could offer socially conscious
solutions such as fibres made from recycled cacao beans and smart packaging that informs allergy
sufferers of potentially harmful ingredients.

Speaking in advance of the exhibition, Anu Seisto of VTT and chair of the COST action, said: The
aim of our COST network has been to bring together people with technology, business or game
research backgrounds to discuss and innovate together different combinations of fibre based
materials and digital services. This exhibition showcases some possibilities that have been taken
forward by our member institutes. Its been intriguing to see how ideas evolve with combining and
sharing expertise.

p.77
Jerusalem Press Club
In May 2015 the Media Innovation Studios director Paul Egglestone accepted an invitation to
speak at the International Press Freedom conference at the Jerusalem Press Club. The conference
was convened by Uri Dromi, a former spokesman of the Rabin and Peres governments from 1992-
96. Over 100 journalists from 50 different countries met at the Conference in Israel to discuss the
erosion of media freedom across the world.

The issue of press freedom is core to the work of several members of the Media Innovation
Studio team. As well as the Exiled Media project featured elsewhere in this review, the Studio has
launched CAST, a new project to explore how emerging technologies might support journalists
expelled from their own countries because of their desire to speak out against oppressive regimes.

Paul went to speak about the impact of digital technologies on the role of journalists focusing on
how web and mobile technologies can assist reporters even in difficult circumstances. He talked
about corroborating stories using some basic techniques to check on the authenticity of a storys
source by accessing metadata from digital photographs, locating Internet protocol and server
addresses used to distribute information and accessing GPS data to verify the location of eye
witness accounts. He also talked a little about data journalism.

He was joined at the conference by journalists from Libya, Turkey, Russia and Mongolia who spoke
openly about time they had spent in detention. They were joined by others from Africa, South
America and China who talked of intimidation violence and even death for those publishing or
broadcasting stories that governments, corporations or religious extremists would rather they
didnt.

Its relatively easy to forget how difficult and dangerous journalism can be from the relative
comfort and stability of the West. The Media Innovation Studio through its connections with
organisations like the Jerusalem Press Club, the Frontline Club and the World Association of
Newspapers, is keen to advocate for those where the freedom to speak up and speak out can carry
grave consequences.

p.78
SXSW
The Media Innovation Studio and friends travelled
to Austin in March this year to participate in one of
the worlds large tech, innovation, music and film
events - the South by South-West festival.

Clare Cook chaired our Drones for Good panel,

which featured Darren Ansell, UCLans space and
aerospace lead for the Engineering Innovation
Centre, Dickens Olewe, founder of African
Skycam and Ben Kreimer from Nebraska Lincoln
Universitys Drone Journalism Lab.

The panel drew on its own expertise from Europe,

Africa and north America to explore the potential of
web-connected drones and how they offer new and
engaging ways for citizens, storytellers, journalists
and organisations to utilise UAV technologies. The
panel tackled contentious issues of ethics, privacy
and safety, asked what are the dangers of eyes in
the sky, and can positive UAV uses re-energise a
potentially sceptical public?

p.80
p.81
Grand Challenges
The original UCLan Grand Challenge series was designed to bring together academics, students
and support staff from across the University to develop new partnerships and innovative projects.

Led by UCLans Research and Innovation Office and facilitated by Change the Conversations
Michael Meaney and Andy Chapman, the workshop series ranged across engineering, health,
conflict resolution, innovation within the emergency services and social change.

In 2015, the Media Innovation Studio led and participated in several challenges that placed
community firmly at the centre of the workshops.

The first was Community Mill. The grand challenge for this project was to demonstrate how
communities could collect and use data to make better predictions and decisions. During a
facilitated workshop with individuals, groups and organisations, we explored what data was of
genuine interest and importance, and how it could help communities address problems, improve
public services, support businesses, attract funding, build leadership and increase cooperation.

The second Grand Challenge explored opportunities and challenges in transforming Preston into
a Smart City. Essentially, smart cities are where residents, public services and infrastructure are
digitally connected to allow urban areas to operate more efficiently, effectively and democratically.

The day-long event opened with a series of video recordings shot by the Media Innovation Studio
team on the streets of Preston that asked market stall holders, shopkeepers, pedestrians and
school teachers what they thought a smart city was. This was followed by asking Prestonians how
they thought a future city might be different to the cities they currently live, work and play in.

p.82
Web2day
The Web2day festival is a mix of innovation-themed talks and workshops where
academics, bloggers, entrepreneurs, politicians and investors gather in Nantes, France to
discuss the future of digital.

Located in the creative quarter of the city, the festival takes place amid huge mechanical
elephants and supersized robotic carousels of the le de Nantes. The event attracts 2,600
participants over three days.

2015 saw the Media Innovation Studio take part in two sessions. The first focussed on the
personalisation of media content and its impact on traditional media organisations. It
examined the potential impact of digital personalisation on media business models.

The second revisited the drones for good panel held at SXSW in March. Our
multidisciplinary panel explored how UAVs can be used across a range of humanitarian,
media and search and rescue scenarios. The session reunited UCLans Engineering
Innovation Centres Darren Ansell and drone journalist Ben Kreimer with researcher John
Mills to talk in more detail about the future plans of the Civic Drone Centre. The panel
built on and extended our SXSW talk in covering legal frameworks, opportunities for
media capture and humanitarian uses, but also examined current research projects and
placed the conversation in a future-scoping mode.

p.84
p.85
IN THE SPACE
The Media Innovation Studio is a 30sqm flexible space. Equipped with mobile whiteboards and
movable furniture, the space can be reconfigured for a wide variety of uses. A high definition
nine-metre projection system, open Wi-Fi network and large flat panel monitors are permanently
available in the Studio.

We offer the space to colleagues from all over the university to support their projects and
workshops. We also like to open the space to communities, local businesses and organisations for
their events too. For our academic colleagues, the Studio is a space where people can move away
from the traditional classroom experience and create new learning experiences for students. For
communities, its an opportunity to interact with the university in ways they may not expect and
in a relaxed environment thats conducive to good conversations.

The following projects belong entirely to the people who designed and delivered them. The Media
Innovation Studio team are pleased to play host to such a diverse range of great projects.

Raspberry Jam
On the first Monday of every month, the Preston Raspberry Jam community meets together in the
Media Innovation Studio. UCLan has hosted these regular monthly Raspberry Jam events since
2012 when the Raspberry Pi computer first became available. Although the very first meetings
were held at UCLan in Preston, the events have now spread to other locations worldwide and are
now administered by the Raspberry Pi Foundation.

In the Studio each month, a group of between 30 and 80 participants ranging in age from eight to
75-years old meet to share and develop their understanding of computing and the Raspberry Pi
computer. Participants sometimes travel considerable distances to the event - 14-year-old Cerys
regularly travels from Staffordshire and has been inspired to host her own events.

Children attending the event have opportunities to see projects that they would not normally
experience in a school setting, and are able to collaborate with adults working on advanced
projects. Events comprise of hands-on development of hardware and software as well as mastery
sessions and lightning talk presentations.

Following enquiries from teachers about the potential of the Raspberry Jam events, there is now a
regular professional development meeting in collaboration with Computing At School, part of the
British Computing Society, for teachers before each event.

p.87
 Remerge
The Media Innovation Studio is always buzzing with workshops, meetings and
conferences run by expert facilitators. To further enhance these activities, the team
has been developing an immersive digital solution over the last eight years: Remerge.
Using applications specially developed for iPads, it enables participants to voice their
opinions, ideas and suggestions, anonymously and in real-time. Questions, drawings and
many other interactions can be created on the fly by the facilitator who responds to the
dynamic nature of design-led, bottom-up thinking events. Images can be captured live from
flipcharts, whiteboards, large graphic templates and Post-its. This content is projected over the
complete back wall off the studio (12m wide, 2m high) and can be zoomed into and explored at any
time, giving everyone a complete picture of the event and wider context discussions.

Remerge is licensed to large multinationals and used worldwide in forward thinking workshops
by the best facilitators.

remergeonline.com

p.89
Great Northern
Creative Festival
Well over 350 undergraduate and postgraduate students were in the Media Innovation Studio at
the end of April, rubbing shoulders with guests and alumni from UK and International film and
television production companies, animation studios, news organisations and broadcasters. A
cast of writers, producers, creative directors, news editors, reporters, graphic designers and 3D
artists celebrated the week long Great Northern Creative Festival aimed at inspiring students from
the School of Journalism and Media by showing and telling them about how their careers have
developed since leaving UCLan.

Screenwriter Frank Boyce of 24 Hour Party People fame kicked off proceedings on Wednesday
with a masterclass and screening. On Friday the focus switched to media careers as students
were treated to quick fire talks from a raft of guests from the BBC, ITV, Nine Lives, Trinity Mirror,
SkyNews and many more.

The schedule continued over the weekend with animation workshops wrapping up on Monday
evening after a daylong masterclass with New York-based documentary maker Sikay Tang.

The Media Innovation Studio team showcased a couple of their current projects including their
latest DataMakers project with Sir Ranulph Fiennes (and his biometric data), Fieldcraft Studios
and Kingston University. The team also chaired a Drone Journalism panel featuring a range of
national and international speakers.

p.91
Prof. Paul Egglestone
Paul is Director of Research and Innovation in the College of
Culture and the Creative Industries, Director of the Media
Innovation Studio and Professor of Creative and Digital
Technologies. A former independent TV producer working for
BBC, ITV and Sky on regional and network programming, he
established UCLans international research studio for media
innovation in 2012. He is a founder member of the World
Association of Newspapers and News Publishers (WAN-
IFRA) Global Media Alliance. He is a co-founder of the Civic
Drone Centre. Paul has worked with journalists, filmmakers,
producers, photographers, games designers and artists from
the BBC, Sky TV, The Independent, The Times, the Guardian,
Haymarket Media, Johnston Press and Trinity Mirror to
collaborate on a series of projects addressing the challenges
posed by digital convergence. Paul is most interested in
getting involved in a range of activities that genuinely make
a difference to peoples lives.

Debbie Dearnley
Debbie is the project co-ordinator for the Studio. Her
work focuses on the management, planning, co-ordination
and administration roles within the office and its related
activities and various projects. She works closely with the
team and takes a leading role in monitoring and providing
support for the project budgets and all purchases. She
has been working at the university for over a decade and
has gained many skills as well as achieving her PGCert
in Management and PRINCE 2 in project management.
Previously, her role at the university was as PA to Heads of
School. She enjoys the challenges that her role brings along
with the increasing knowledge she is gaining.
Andy Dickinson
Andy is a senior lecturer in digital and online journalism
and researcher. Hes been an influential voice in the field for
over 15 years and is regularly named in lists of journalism
influencers online. In 2016 Journalism.co.uk named him
one of the top 50 bloggers journalists should follow. He has
provided training and consultancy for UK and International
media organisations embracing digital and online skills.
Before he found himself in academia he worked in TV as an
editor and director, producing documentaries for a range
of broadcasters. Andy is a self-confessed geek and loves to
explore the places where tech, journalism and communities
meet. His current research interests include innovation
in media organisations especially around the civic and
democratic impact of data journalism and open data.

Clare Cook
An award-winning journalist with ten years experience
in the print and magazine industries, Clare now provides
training and consultancy on social media and its impact
on journalism practice in the UK and internationally, and
co-authored Social Media for Journalists: Principles and
Practice (Sage). Her research focuses on the revenue models
of journalism start-ups globally, hyperlocal media in Europe
and oppositional news outlets in closed or repressive
regimes. Working with partners such as Internews Europe,
Fojo Media Institute, J-Lab Hogeschool Utrecht and UK
innovation charity Nesta, she explores how best to promote
economic resilience and sustainability in small medium
enterprises. She is also researching the impact of media
technology in restricted environments with a project
deploying proximity broadcasting as a village connectivity
system.
John Mills
Johns research activity spans journalism, the Internet of
Things and connected objects, augmented paper, mobile
journalism, wearables, human-computer interaction,
drone journalism and innovation theory. Since moving into
academia from online journalism and content creation, his
research activities have included the hyperlocal/digital
design project Bespoke, which formulated the immersive
community media methodology Insight Journalism,
Interactive Newsprint, which developed a new platform for
community news using printed electronics. He is currently
exploring the Internet of Things, and how news organisations
can utilise physical platforms and experiences. He has taught
multimedia journalism techniques and theory at UCLan, and
supported community and citizen journalists across a range
of projects. Professionally, John has established business-to-
business editorial operations in Manchester and Leeds, and
managed large teams of online correspondents both in the
UK and beyond.

Dr. Mark Lochrie

Coming from a computing background, Mark has
demonstrated how technology can be used to encourage
participation in communities. Through the use of mobile and
web technologies he has designed and developed a range
of applications to evaluate the impact citizens have whilst
occupying spaces from Location Based Games to physical
check-in mechanisms. More recently, Mark has sought to
explore local economic activity through BARTER; a bespoke
platform to encourage local spending through the use of web,
mobile and NFC technologies. Furthermore, he has continued
his work with communities through data-related projects,
ranging from the Sir Ranulph Fiennes Data Dashboard
(RansDash) to represent his Marathon des Sables experience
to enabling school children in creating mobile games which
generate data, educate and encourage participation around
air quality issues. Designing for children has generated a
new passion. This has been particularly seen with littleBits,
enabling children to express their creativity through the
creation and sharing of electronic projects.
Dr. Andrew Heaton
Andrew gained his BSc in Aerospace Technology with
Management in 2009 from the University of Hertfordshire,
during which he spent his second year at West Virginia
University in the United States. He was a member of the
University of Hertfordshires UAS (Unmanned Aerial Systems)
Team in his final year. He then went on to receive an MSc in
Aerospace Engineering form Brunel University in 2010. He
gained a PhD from Cranfield University in 2014, researching
the Integrated Vehicle Health Management (IVHM)
requirements needed for UAS, working with BAE Systems
on an EPSRC Industrial CASE scholarship. During his PhD
studies, he was a finalist for the Royal Aeronautical Society
UAS Groups Innovation Award at the 2012 conference. He
joined the University of Central Lancashires Civic Drone
Centre in 2014 to investigate the legal, ethical and policy
issues with growing use of civilian drones and the push to
establish laws and regulations around their use.

Dr. Siamak Tavakoli

Siamak specialises in research and development around
embedded engineering; exploring sensor data collection
platforms. Over the past 23 years, Siamak has worked on
a number of projects across manufacturing, environment,
semiconductor, subsea robotics, and military sectors
at national and international levels. He led, managed,
conceptualised, designed, developed, and was instrumental
in Technology for Nature for wildlife tracking and drone
platforms, TRIDEC and GEMECD for disaster early
warning and rapid response systems, VoiceTalk and Hybrid
Fingerprint Maker for signal processing, to mention just a
few. Currently, he is enjoying transferring his skills into the
convergent space between IoT and drones.
 Dr. George Ogola
George is a Senior Lecturer in the School of Journalism,
Language and Communication. He previously worked as
a journalist at the Standard Media Group in Nairobi and
as a news and features correspondent for a number of
newspapers and magazines based in Kenya, South Africa and
the UK. He has published widely on the political economy of
the media in Africa, the impact of new media technologies
on the broader media ecology in the developing world and
how they address questions of power and democratisation
and the interface between popular culture and the media in
Africa.

INTERNS
We regularly welcome student interns to the
Studio. Because we are a diverse team with a broad
range of interests and a great portfolio of projects,
theres plenty of opportunities to get involved in
something thats possibly exciting, probably cool
and definitely stretching.

Our interns make a valuable contribution to

all areas of the Studio. They bring with them
new ideas and fresh perspectives. Their energy
and enthusiasm is infectious. In the past weve
had interns whose duties included working on
a university crowdfunding platform, creating
multimedia project reports, mapping innovation
projects from around the UK and working on UAV
platforms and services.
Current members of the intern team, Benjamin and
Richard, joined the Civic Drone Centre to engineer
UAV solutions for dangerous environments. More
recently, weve just welcomed Glenn Matthys who
joins us from Belgium, working on the littleBits
platform continuing the work achieved so far.
Richard Kenyon
Richard was part of the Media Innovation
Studio 2015 summer intern team working
for the Civic Drone Centre. During this
time, he worked on an in the wild project
for a commercial company that involved
a drone anti-collision system: developing
hardware and software. Since then, he
has spent several weeks continuing his
work, working with NASA and UCLan.
Whilst interning he gained essential
skills and experience in his field of
interest. NASA on a project to take high resolution
Benjamin Watkinson
Benjamin took part in the Media
Innovation Studio 2015 internship scheme
working on the Civic Drone Centre project.
He worked on an image stitcher designed
to transform images taken from a UAV into
a single image. Furthermore, he designed
and implemented a vision system for a
localisation system that allowed a UAV
to hover above a beacon. Benjamin has
continued the work at UCLan as a research
associate. His main focus is working with
images of the sun.
Working With Us
Whether youre an academic, business, charity, NGO or community, there are many routes to
work with us. This could be through simply talking to us about your work and interests over a
cup of coffee, joining us on a current project, collaborating on a new RCUK or EU research bid,
commissioning training or support, or sponsoring a Ph.D. or internship.

Whatever the opportunity, wed love to hear from you and start a conversation.

Get in touch via social media, email or through more traditional means via the telephone or post.

Explore our website

mediainnovationstudio.org
Follow us on Twitter and Instagram at
@mis_uclan
Like and share us on Facebook at
mediainnovationstudio

Contact us at mis@uclan.ac.uk or on
(00 44) 1772 894733
Media Innovation Studio,
Media Factory ME413,
University of Central Lancashire,
Preston,
PR1 2HE
United Kingdom

p.97
 Interactive

CLOSING WORDS
We will continue to work in those liminal spaces that connect artists, designers, engineers, chemists,
health professionals, historians, musicians and technologists. Our work will be driven by our values and
sense of social purpose. The passion and commitment of our team will be refreshed each time new people
enter the Studio, bringing with them fresh perspectives, different approaches, cool ideas, innovative
thinking and alternative ways of exploring the world around us.

Its going to be a fascinating experiment. I suspect well be as surprised as we are now when we come to
look back over the next 12 months.

I hope youve been challenged, encouraged and maybe even inspired by the sheer volume and variety
of whats here. More importantly, I hope youll consider working with us, participating in projects or
studying here. Whatever the basis for a conversation, we look forward to having it with you - and hope
youll keep in touch and join us for the next review.

Thanks for reading, and interacting. You can join the discussion by tagging your stories on Facebook
and Twitter with #MISReview

Professor Paul Egglestone

SELECTED PUBLICATIONS
Anderson, P., Ogola, G. and Williams, M. (eds). (2014). The future
of journalism in the developed and developing world: A cross
continental analysis. London and New York: Routledge
Anderson, P. and Egglestone, P. (2012) The development of
effective quality measures relevant to the future practice of
BBC news journalism online, Journalism: Theory, Practice and
Criticism, Volume 13 Issue 7 October 2012 pp. 921 - 940.
Blum-Ross A., Egglestone, P., Mills, J. and Frohlich, D. (2011)
Participatory video and design: examples from the Bespoke
Project Participatory Innovation Conference 2011, Mads Clasen
Institute, University of Southern Denmark.
Blum-Ross, A., Mills, J., Egglestone, P., and Frohlich, D., (2013)
Community media and design: Insight Journalism as a method
for innovation: Volume 14, Number 3, 1 September 2013, pp. 171-
192(22)
Cook, C., and Dickinson, A. (2013). 11 UK Social Media, Citizen
Journalism and Alternative News. The Future of Quality News
Journalism: A Cross-Continental Analysis, 7, 202.
Cook, C. E. (2016). Fragile finance: The revenue models
of oppositional news outlets in repressive regimes. The
International Communication Gazette.
Dickinson, A, (2014) Data Journalism: Making it real in Mair and
R. L. Keeble, Eds., Data Journalism. Bury St Edmunds: abramis,
2014.
Dickinson, A, (2015) Data Journalism: Making it real in T. Felle, J.
Mair, and D. Radcliffe, Eds., Data Journalism: Inside the global
future. abramis, 2015.
Dickinson, A, (2016) Media Mill: Exploring the ecosystem for
hyperlocal open data journalism, NODA16, Papers and Notes
Dickinson, A., Lochrie, M. and Egglestone, P. (2015). DataPet:
Designing a participatory sensing data game for children, CHI
Play 2015, Papers and Notes
p.99
Dickinson, A, Lochrie, M and Egglestone, P .20150 UKKO:
Enriching persuasive location based games with environmental
sensor data, CHI Play 2015, Papers and Notes
Egglestone, P. (2013). Finding viable business models for
developed world broadcast news in The Future of Quality News
Journalism: a cross continental analysis Edited by Peter J.
Anderson, George Ogola and Michael Williams, Routledge, New
York, 2013
Egglestone, P. and Blum-Ross, A. (2010). Reflections on the use of
community journalism in digital design, Media, Communications
and Cultural Studies Association Conference.
Egglestone, P., Ansell, D. and Cook, C. (2013) UAVs in crowd
tagged mountain rescue, Proceedings of International
Conference on Making Sense of Converging Media, Pages 286,
New York, NY, USA 2013 ISBN: 978-1-4503-1992-8
Egglestone, P. and Mills, J. Interactive Newsprint: The Future
of Newspapers? Printed electronics meets hyperlocal and
community co-design. (2012) Proc. ICMC http://icmc2012.
wordpress.com.
Egglestone, P. and Rogers, J., (2010), Bespoke: Increasing Social
Inclusion Through Community Journalism and Bespoke Design,
Digital Futures All Hands Conference.
Frohlich, D, Egglestone, P. et al, (2011) Crossing the digital divide
in the other direction: Community-based innovation on the
Bespoke Project Include 2011 - The Role of Inclusive Design in
Making Social Innovation Happen, RCA.
Garbett, A., Egglestone, P.,et al: (2014), Finding Real People:
Trust and Diversity in the Interface Between Professional and
Citizen Journalists, CHI 2014, Papers and Notes
Gradinar, A., Huck, J., Coulton, P., Lochrie, M., and Tsekleves, E.
(2015). Designing for the dichotomy of immersion in location
based games. Paper presented at Foundations of Digital Games
2015, Pacific Grove, United States.
Light, A. and Egglestone, P. Participant-Making: bridging the
gulf between community knowledge and academic research,
The Journal of Community Informatics, Vol 8, 2011-12.
Light, A., Wakeford, T., Egglestone, P. and Rogers, J. (2011)
Research on an Equal Footing? A UK Collaborative Inquiry into
Community and Academic Knowledge, Indigenous Knowledge
Technology Conference 2011, Nov 2011.
Lochire, M. (2016). A messaging app for teams who. think
differently. Falk-Bartz, Sabine & Stockleben, Bjrn: Think Cross
- Change Media 2016. Books on Demand. Norderstedt, 2016
Lochrie, M., Mills, J., Egglestone, P., and Skelly, M. Paper
Gaming: Creating IoT Paper Interactions with Conductive Inks
and Web-connectivity through EKKO. In Proceedings of the 2015
Annual Symposium on Computer-Human Interaction in Play, pp.
619-624. ACM, 2015.
Kljun, M., Kopic Pucihar, K., Lochrie, M. and Egglestone, P., 2015,
October. StreetGamez: A Moving Projector Platform for Projected
Street Games. In Proceedings of the 2015 Annual Symposium on
Computer-Human Interaction in Play (pp. 589-594). ACM.
Mills, J., Egglestone, P., Lochrie, M. and Skelly, M. Paper-based
web connected objects and the Internet of Things through
EKKO. In Proceedings of the 2015 British HCI Conference, pp.
279-280. ACM, 2015.
Mills, J., Egglestone, P. and Rashid, O. MoJo in Action: The
use of mobiles in conflict, community and cross platform
Journalism, Continuum, journal of media and cultural studies,
Issue 26 (5) October 2012 Wising Up: revising mobile media in an
age of smart phones
Mills, J., Lochrie, M., Dickinson, A., Metcalfe, T., and Egglestone,
P. Connected Paper, EKKO and Analytic Futures: News and
Paper Data. In Proceedings of the 2015 International Conference
on Interactive Tabletops & Surfaces, pp. 253-258. ACM, 2015.
p.100
Ogola, G. 2010. Media at cross-roads: Reflections on the Kenyan
news and the coverage of the 2007 political crisis in Africa
Insight 39 (1): 58-71
Ogola, G. 2010. If you rattle a snake, be prepared to be bitten:
Popular Culture, Politics and the Kenyan News Media in
Wasserman, H. Popular Media, Democracy and Development in
Africa. London: Routledge
Ogola, G. 2011. The political economy of the media in Kenya:
From Kenyattas nation-building press to Kibakis fragmented
nation in Africa Today 57(3):77-95
Ogola, G. 2012. Kenyas Diasporic Cyber Publics and the
Virtual Negotiation of Identity: Exploring the Conjunctures
and Disjunctures in Ogude, J et al. Rethinking Eastern African
Intellectual and Literary Landscapes. Trenton, NJ.: Africa World
Press Inc
Ogola, G. (2014) Our listeners would rather call than post
messages on Facebook: New media and community radio in
Kenya in Mwabeazara, H et al. Online Journalism in Africa:
Trends, Practices and Emerging Cultures. London: Routledge
Ogola, G. (2014) (Re-)framing the quality debate: The Arab
media and its future journalism in Anderson, P, Ogola, G and
Williams, M (eds) . The future of journalism in the developed and
developing world: A cross continental analysis. London and New
York: Routledge
Ogola, G. 2015. Social media as a heteroglossic discursive space
and Kenyas emergent alternative/citizen experiment in African
Journalism Studies
Ogola, G. 2015. African Journalism: A journey of failures and
triumphs in African Journalism Studies 36(1): 93-102
Ogola, G. (2015) Constructing images of Africa: From troubled
pan African media to sprawling Nollywood, in Gallagher, J (ed).
Images of Africa: creation, negotiation, subversion. Manchester:
Manchester University Press
Ogola, G and Mike, O. (2015). Citizen journalism in Kenya as
a contested third space, in Mutswaviro, B (ed). Participatory
politics and citizen journalism in a networked Africa. London:
Palgrave

Ogola, G., Schumann, A. and Oltnj, M. 2010. Popular Culture,

New Media and the Digital Public Sphere in Kenya, Cote dIvoire,
and Nigeria in Okoth, F. et al (ed) African Media and Digital
Public Sphere, Palgrave Macmillan: Basingtoke

Ogola, G and Ylva-Rodny, G. (2014) The future of quality

journalism and media accountability in South Africa and Kenya
in Anderson, P, Ogola, G and Williams, M (eds). The future of
journalism in the developed and developing world: A cross
continental analysis. London and New York: Routledge

Pekkala, P., and Cook, C. (2012). 4. Sustaining journalistic

entrepreneurship.Chasing sustainability on the net, 108.

Sirkkunen, E., and Cook, C. (2012). Chasing Sustainability on the

Net: International research on 69 journalistic pure players and
their business models. University of Tampere.

Taylor, N., Frohlich, DM., Egglestone, P., Marshall, J., Rogers,

J., Blum-Ross, A., Mills, J., Shorter M. and Olivier, P. Utilising
insight journalism for community technology design. In
Proceedings of the 32nd annual ACM conference on Human
factors in computing systems, pp. 2995-3004. ACM, 2014.

Taylor, N., Marshall, J., Blum-Ross, A., Mills, J., Rogers, J.,
Egglestone, P., Frohlich, DM., Wright and P., Olivier, P. Viewpoint:
Empowering Communities with Situated Voting Devices (2012)
Proc. CHI 2012, p. 1361-1370, New York: ACM.

Vataaja, H. and Egglestone, P. (2011) Briefing News Reporting

with Mobile Assignments Perceptions, Needs and Challenges,
(Conference proceedings http://cscw2012.org/)

For an up to date publication list visit

mediainnovationstudio.org/#publications
p.101
ISBN: 978-0-9935595

Contributors: From the Media Innovation Studio; Debbie Dearnley, Andy Dickinson, Dr George
Ogola, Clare Cook, Dr Andrew Heaton and Dr Siamak Tavakoli. Onno Baudouin for Remerge,
Raspberry Jams Alan ODonohoe and from the University of Primorska; Klen Copic Pucihar and
Matja Kljun for the development of the interactive companion element of the book.

Acknowledgements: This book would not have been possible without the support of our
partners, UCLan, the communities weve worked with, collaborations, funders and all those who
contributed content that is documented in this review. We would also like to specially thank
Prof Graham Baldwin, Dr Andrew Ireland, Prof Robert Walsh and Dr John Lonsdale for their
support and commitment to what has become the Media Innovation Studio today.

A special thanks to Catherine Bretherton and Liz Swan from Cranden Press for providing
expertise and guideance whilst printing this book.

Published by the Media Innovation Studio

Media Factory
University of Central Lancashire
Preston
PR1 2HE
United Kingdom

All text and images in this Review, unless specifically listed below, are subject to Creative
Commons Attribution and sharealike licence, 2016.

The following images have been used with permission or under Creative Commons licence

Viewpoint - Garry Cook (p.22).

Sir Ranulph Fiennes Liz Scarff/Fieldcraft Studios (p.48-49).
Google Glass Tim Reckmann, used under a Creative Commons Attribution Licence (p.50-51).
Web2Day Web2Day, used courtesy of the web2day festival (p.84-85).
Media Factory (p.97).

Printed by Cranden Press

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p.102